Romania's arthouse films have won respect worldwide, but their lack of popularity among domestic audiences spells danger
Any new wave in cinema is duty-bound to make surprise its mission, cocking a snook at tradition and shuffling conventions. The one that broke in 2005 got off to a good start: hailing from Romania, a filmic backwater compared to Russia and Poland. Kicking off with Cristi Puiu's The Death of Mr Lazarescu – the whispered hit of Cannes that year – this revolution had ready-made class: it was aesthetically rigorous; serious-minded yet buoyed by a mordant sense of humour; it scraped its truths from the dingy fabric of everyday life, often covered in the residue of 42 years of communism.
Corneliu Porumboiu, Cristian Mungiu and Radu Muntean all followed up in this vein in the second half of the noughties, with pure festival-bait that was still clocking up awards this year when the drama Child's...
Any new wave in cinema is duty-bound to make surprise its mission, cocking a snook at tradition and shuffling conventions. The one that broke in 2005 got off to a good start: hailing from Romania, a filmic backwater compared to Russia and Poland. Kicking off with Cristi Puiu's The Death of Mr Lazarescu – the whispered hit of Cannes that year – this revolution had ready-made class: it was aesthetically rigorous; serious-minded yet buoyed by a mordant sense of humour; it scraped its truths from the dingy fabric of everyday life, often covered in the residue of 42 years of communism.
Corneliu Porumboiu, Cristian Mungiu and Radu Muntean all followed up in this vein in the second half of the noughties, with pure festival-bait that was still clocking up awards this year when the drama Child's...
- 3/12/2013
- by Phil Hoad
- The Guardian - Film News
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